special - Asian Photography India

Transcription

www.asianphotographyindia.com
September 2011
`75 US$8
Vol. 23 - No.9
B&W
Subs
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to t ibe
he
e-ve
the rsion o
mag
n
a
web zine’s
site
Special
Shades of
Black & White
Photography
Tribute to
the Masters
Landscape
Photography
Portairt
photography
Art of
photography
Reviews
Canon
EOS 1100D
Olympus
EP-3
Editorial
It’s a colourless
September
When we set out to decide what we should do in the month of September, as usual
ideas started flying across the table. But I have to admit that the eventual idea of
doing a Black and White issue culminated from recently concluded Anniversary
issue of our Asia-Pacific edition. The APAC edition of the magazine completed its 8th
anniversary in July by publishing a monochrome issue. And one look at that issue
convinced us that we have to replicate this idea with our flagship title.
Honestly it had been a long time we stopped publishing specials. Primarily because
we felt that they have a poor readability ratio as compared to the mix of content that
gets featured in the regular issue. But we decided to make an exception this month
and feature an all monochrome special.
And we are extremely happy with the way things have turned out. Our issue this
month primarily has everything that an amateur and professional photographer
would want. The content is varied to suit different preferences of our readers. But
the main point is, that it is “COLOURLESS”. And I believe it is rightly said that nothing
is as surreal as Black and White.
So we hope that you enjoy this issue because this one’s special.
Until Next Time…..Happy Reading!!
Bhavya Desai
w w w. a s i a n p h o t o g r a p h y i n d i a . c o m
EDITOR / Publisher
Trilok Desai
GROUP HEAD
Bhavya Desai
New Delhi Bureau
Amitabh Joshi
EDITORIAL TEAM
Mithila Jariwala
Rojita Padhy
Steve D’Souza
Karina Aggarwal
Fred Shippie
Lester Ledesma
Ajay Singh
George Kurien
Tapshi Dhanda
Special Correspondent
Lopamudra Ganguly (Delhi)
Director Marketing
Aruna Desai
Design
Goraksh Kokate
Rajendra Gaikwad
Manager Advertising
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Cover Image: Akash Das
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Published by TRILOK DESAI on behalf of Special Audience Publications Pvt. Ltd., 509 & 511,
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Printed by TRILOK DESAI on behalf of Special Audience Publications Pvt. Ltd., 509 & 511, Dilkap
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Editor - TRILOK DESAI.
All material covered by copyright; No part of the contents of this journal may be published or reproduced
or transmitted in any form without prior written permission of the publisher. The views and opinons
expressed by the authors do not necessarily reflect those of the publisher or the editorial staff.
SAP MEDIA WORLDWIDE LTD and ASIAN PHOTOGRAPHY AND IMAGING is not responsible
and liable for any comments and articles published by its contributors and will not be liable for any
damages. All disputes are subject to the exclusive jurisdiction of competent courts and forums in
Mumbai, India.
september
[03]
2011
Asian Photography And Imaging
September 2011
Contents
Trade Talk
22 Your Flash memory guide…
With the growing nature of the imaging industry, often we tend
to forget an important element like flash memory in our imaging
devices. It is crucial that a consumer has the right memory partner to
support its products’ memory needs. Hence we spoke to some industry experts and leaders about their plans for the coming year.
Pro-profile
24Shades of Black & White
In keeping with the Black & White theme of the month, Asian
Photography’s pro-profile is a man who loves to shoot his
images without colour. Having shifted careers from being an
advertising professional to a full time photographer, Akash
Das speaks with us about his brand of photography.
Special Feature
35MASTERS OF B&W
No B&W special issue can be complete without a tribute to
the Masters who changed the way we look at images. These
masters have often inspired photographers, intimidated
them and lastly forced them to improve and achieve the
impossible. There is a long list, but some of the most famous
ones are Henri Cartier-Bresson, Irving Penn, Richard Avedon,
Eugene Smith and Ansel Adams.
SHOOT MY CITY
47Kolkata - city of joy
Kolkata is raw, it’s real and it’s in your face… It is a city you
‘feel’ more than just visit. Even today, the city takes you back
in time with its people and atmosphere. I saw beauty amidst
all the chaos and scramble.
[04]
Tips & Techs
56 B&W photography rocks!
To me, Rock and Roll has always been the Fountain of Youth. The
beauty about Rock Photography is that it captures the star in that
historical moment at that point in time. If done right, the image
can become a captivating classic and sometimes even iconic.
64 B&W Landscape Photography
Perhaps it’s just providence that black and white photography
was invented before colour photography, but even today, several
years after the invention of colour photography, somehow we’re
still in love with the idea of making images sans colour and black
and white photography seems like it’s here to stay.
70 B&W product photography
Photography should not just involve framing neat images but must
go beyond framing and lighting. And in Black and White photography, there is a whole different approach to lighting, subject
selection, backgrounds and so on.
74 B&W portrait photography
A portrait is simply a photograph that portrays someone. The simplest example of the same is a passport photograph. However,
a passport photo provides little insight into the person being
photographed. For that purpose, other forms of portraiture are
more appropriate.
CAMERA REVIEW
81Canon EOS 1100D
The Canon EOS 1100D was
recently launched at a prince
of Rs. 38,999 and offers a
lot more in terms of style and
features when compared to
its older cousin, the Canon
1000D. We broke it down for
you to understand more about
the product’s design, features,
and performance.
86Olympus EP-3
With the joint introduction
of the Micro Four-Thirds
technology a few years
back, Olympus has come a
long way in making some
very interesting DSLRs in
recent times. And with the launch of its recent line-up of products,
the company seems confident of its future in India. So when we
got our hands on the EP-3, we were naturally excited.
[05]
Readers’ Comments and Suggestions...
Feedback
The
Letter
of the month will
receive a gift
from Uniross
Dear Editor,
I am a recent subscriber of your prestigious magazine and had a brief glance of the cover
page of this magazine at the visitors’ lounge of Nikon India’s Office, where I had gone in
connection with my Nikon Camera. I quickly turned over all the pages and I was highly impressed
with the design and the contents of the magazine.
I being a keen traveller and a photographer was instantly fascinated and wondered why and
how was I so late in subscribing to this magazine, which deals with many important aspects of
photography, including readers’ participation and contribution on monthly basis? Wasting no
time, I completed all formalities to become a subscriber of Asian Photography magazine.
I look forward for an effective association with this magazine on long-term basis.
Thanking you;
Hem Bhandari,
[email protected]
Dear Hem,
Thanks a lot for your mail and welcome to the AP family. It is good to know that you didn’t
waste anytime in subscribing to the magazine. And we are confident that with the content that
we feature in the magazine you will fall more in love with the magazine every month. We look
forward to your participation as well in the magazine.
Hi, I am a freelance photographer residing in India. I wish to contribute photos for your
magazine, could you please tell me the procedure for the same?
Thanks,
Dipanjan Mitra,
Kolkata
Dear Dipanjan,
The procedure is very simple. Pick up our magazine and send the photos to the email ids
mentioned in the same sections.
september
2011
[6]
september
2011
[9]
Readers’ Comments and Suggestions...
Feedback
The
Letter
of the month will
receive a gift
from Uniross
Dear Editor,
I am a regular reader of the magazine and I read the Wespro DVX595 camcorder’s review in
the July 2011 issue. Can you kindly tell me where the same is available?
I would like to purchase one but I am not able to find it. Even the name of the shop that you
purchased the same from would be sufficient.
Rekha Shankar,
Bangalore
Dear Rekha,
We got the camcorder from the company itself since they are based in Mumbai. I am not
sure if they sell the camcorder through the outlets. As far as my knowledge goes they sell their
products through the HomeShop series. But nonetheless here is their website address which has
all the details and offers and I am sure that you can buy the product from there or atleast contact
them. Their website URL is www.wesprodigital.com.
Dear Editor,
I am an avid reader of Asian Photography magazine. I would
like to tell you that the magazine is extremely informative and
interesting. I would also like to thank the entire team for their efforts.
But I wanted to mention that unfortunately it arrives late in the
district where I reside. This results in us missing the freshness of your
magazine. I think there are a lot of people like me from various places
waiting for your new content.
Kindly help our cause. Thank you
Kiran Kumar,
East Godaveri, Andhra Pradesh
Dear Mr. Kumar,
Thanks a lot for your mail and for brining it to our notice that the magazine is reaching
late to your district. Unfortunately there are some places in India which have some
accessibility problems which might be the reason for the same. But I am forwarding your
address to our distributors and will ask them to look into the same problem. We hope to
resolve your issue immediately.
september
2011
[8]
september
2011
[9]
News
Canon launches three new
cameras with high definition
C
anon India Pvt. Limited, the Digital
Imaging Company recently announced
the launch of three new consumer digital
imaging cameras with high definition to widen
its product portfolio in India. The cameras
introduced are PowerShot SX 150 IS, IXUS
1100HS, IXUS 230HS. The new range boasts
of Canon’s new Intelligent Image stabilization
(IS) technology which identifies the shooting
situation and selects the appropriate form
of image stabilization from seven possible
settings.
Along with the new range, Canon has
launched a new kit for EOS 1100D. This new
double zoom kit includes EOS 1100D body
with 18-55mm IS ll and 55-250mm IS II lens.
This double zoom kit covers 35mm equivalent
of approx 28-400mm. It is available for `
38,990.
According to Mr. Seiji Hamanishi, Assistant
Director, ICP, Canon India, the cameras
launched aim to provide their customers
with exciting features at a reasonable price.
The new IXUS range features Canon HS (High
Sensitivity) system and Intelligent IS (Image
stabilisation) technology that enable high
quality images even in low or natural light.
The IXUS 1100HS claims to be the world’s
slimmest 12x camera featuring Canon’s
‘HS’ system promising enhanced low-light
performance and high-speed photography.
The camera features 3.4 inch wide intuitive
LCD. The IXUS 1100HS features the new
Intelligent IS system to ensure any subject is
captured in crisp detail.
Another addition is the IXUS 230HS. This
point and shoot camera features an 8x optical
zoom that fuses optical technology with
design. The camera is available in Silver, Pink
and Black. With IXUS 230HS you can capture
shake-free stills, or steady Full HD (1080p)
movies.
Canon also launched the super zoom
PowerShot SX150 IS. The camera comprises of
12x zoom, 28mm wide lens, Smart Auto and
Easy modes detecting 32 scenes.
Olympus’s festive gifting schemes
O
lympus recently announced
“Olympus Festive Offer 2011” for the
upcoming season of celebrations. The
promotional scheme is aimed at reinforcing the
Indian culture of giving gifts at festivals and to
spread the joy of photography.
Starting from 1st September, the offer
objective is to reach out to the shoppers
and photo enthusiasts during the build-up
to Dussera and Diwali festivities, and will be
available throughout the festival season in
India. The gifts include ‘Killer’ (Jeans) branded
accessories with certain Olympus models,
along with a photography basics tutorial
DVD for amateur photographers. Presently
applicable on all Olympus cameras i.e. the PEN
September
2011
series and the latest compact camera models,
the scheme can be availed of at all leading
large format retail stores and photo outlets
across the country.
The offer includes two options:
The SP, SZ, XZ and the PEN camera series,
bundled with utilities worth ` 3749, i.e. a
Limited Edition all-leather combo pack worth
` 2499 from Killer containing 1 men’s wallet,
1 belt, 1 pair of cufflinks and 1 business card
holder and a Basics of Photography Tutorial
DVD worth Rs.1250 The VG, VR and Tough
series, bundled with an Couple combo pack
worth Rs.1499 from Killer comprising 1 men’s
wallet and 1 women’s wallet.
All cameras come with a two-year
[10]
warranty; 1st year Worldwide and 2nd year
National warranty + Free Memory card +
Camera case
Toshio Murai, MD, Olympus Imaging India
Pvt. Ltd feels that festivals are an integral facet
of India, and thus Olympus places great value
on the importance of culture and tradition
in our lives. The company, through such
initiatives, aims to achieve meaningful growth
in sales over that of last year, especially in the
tier 2 and tier 3 cities. The Festive Scheme,
which is valid until October 31st, 2011 or until
stocks lasts, will be promoted through branding
and POS material at major retail outlets and
through press and dealer meets organised in
14 cities across India.
september
2011
[9]
Canvera runner up in APJ
Photobook competition
C
anvera.com was first runner up at
the recently concluded 2011 Asia
Pacific and Japan HP Digital Print Award’s
Photobook competition. Canvera has won
the award previously in 2008 and 2009.
Head of HP Indigo India, Mr. Appadurai
feels that Canvera’s commitment to quality
has brought them to the top of the pack
in the APJ region and this award is a
testament to that. He credits the members
of the Canvera team for raising the quality
expectations in the photography market
in India.
The Photobook category attracted
about 120 entries from the Asia Pacific
region. Dhiraj Kacker, CEO of Canvera
traces back the journey
saying, “Canvera was started with a
singular focus to the highest quality
standards and it is extremely gratifying
to have consistently come out on top in
what is a fiercely contested award.”
Fujifilm to exhibit lineup of
2011 digital camera in IFA 2011
X10
X10 features a 2/3” 12 megapixel EXR CMOS sensor and a highdefinition F2.0 wide-angle and F2.8 telephoto FUJINON 4x manual
zoom lens (28-112mm) that is characterized by its brightness and
picture quality.
The X10 is an advanced compact camera with specifications that
follow in the footsteps of FinePix X100 (released in March 2011) in
terms of design, components, functions and specification. Featuring
a bright optical zoom viewfinder with a wide viewing angle, the
X10 allows users to enjoy photography via a traditional viewfinder,
providing the benefits and ease of composition this brings.
Fujifilm will also make development announcement of “FinePix
REAL 3D V3”, the 3D Digital Viewer.
FinePix REAL 3D V3
FUJIFILM Corporation will be exhibiting the lineup of 2011 autumn
digital camera in IFA at Berlin, Germany.
There, Fujifilm will make announcement to introduce new addition
to Fujifilm X-series, the premium compact camera “X10”. Adding to
X10, new digital camera lineup from 2011 Autumn, F600EXR, Z950EXR,
JX420 and JX370 will be exhibited.
FinePix REAL 3D V3 features key improvements made to the screen,
which is brighter than its predecessor and now uses a lenticular system
for glasses-free 3D viewing, and the V3 Viewer also supports High
Definition 3D still photos and movie playback as well as compatibility to
other 3D devices via HDMI input.
Epson products displayed at
Epson’s Annual programme 2011
E
pson’s annual nSolution partner
engagement programme 2011 was
recently held in Mumbai targeting
System Integrators / Corporate Resellers and
Office Automation Partners. The event was
attended by a number of System Integrators
(SI’s) and a few of Epson’s key corporate
September
2011
clients.
The full day walk-in event included
Epson’s Senior Management presenting the
background of the company and its future
plans. The highlight of the event was the walk
through exhibition where the entire range of
Epson products was displayed. The exhibition
[12]
informed the SI’s and Corporate reseller on
the vast range of Epson products.
The Epson nSolution Programme claims to
empower and facilitate partners by increasing
their product knowledge and helping them
decide on what level they want to take their
business with Epson.
september
2011
[9]
UNIROSS LAUNCHES
ALKALINE BATTERIES
STUDY PHOTOGRAPHY IN ITALY !
I
n pursuit of spreading the brand Uniross to related categories, Uniross has recently
launched alkaline batteries in AA and AAA sizes. As a special introductory offer, pack
of two pieces is attractively priced at ` 30 for both AA and AAA. Having more than
average ratings in high drainage equipments like Digital Cameras, they have long shelf
life of seven years.
“Alkaline batteries being a more widespread product in terms of sales points as
compared to rechargeable will give a foothold to Uniross brand in Mass market & improve
the brands market visibility in addition to Photo Trade outlets.” emphasised Vijay Tyagi,
Product Manager, Uniross.
With the distribution strength of PowerCell, Uniross plans to further develop and
establish its position across all important markets in India.”
Golla’s new line at IFA
G
olla will display their 2012
collection of bags for portable
electronics at the IFA in Berlin from 2nd
-7th September.
The upcoming collection will feature
new colours, a whole new look and feel
and will come with features custom
made to fit each device. The Finnish
design company plans to expand its
product line to include new categories
in 2012. They will include new designs,
materials and structures to offer more
features and carrying options.
Golla is featuring designs that cover tablets, the iPad 2 and also Mac-specific designs.
Golla Gear is a new product line for mobiles that includes ear-buds in four colours,
one-ear headphones in two colours and over-ear headphones in three colours.
The 2012 collection will hit stores worldwide in March 2012; however the Golla Gear
ear-buds, headphones and some iPad 2 cases will be available before Christmas 2011.
They also will launch hard covers for the iPhone 5 once it is released. The preview of the
new collection will be in hall 12, booth 108 at the IFA.
September
2011
[14]
Istituto Italiano di Fotografia (IIF) is a
multifunctional and dynamic
educational institution providing
excellent, modern photography training.
The international department of IIF
offers photography courses taught in
English, including a unique, intensive
professional program:
Intensive Professional
Photography Course
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Fundamentals:
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Still Life
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Reportage
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Benefits of this course:
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training faster
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study
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international environment
439&([email protected]
www.istitutoitalianodifotografia.it
Have unanswered questions
about
photography?
Then
The ‘Ask Your Expert’ column where your SanDisk
expert will answer all your queries on photography
Send your questions to
[email protected]
or
ask your expert
SAP Media worldwide Ltd.
509 & 511, Dilkap Chambers, Fun Republic Street,
Off Veera Desai Road, Andheri (W), Mumbai - 400 053.
Brought to you by
A s i an
AND IMAGing
Conditions Apply *
Answered by
Manisha Sood
Country Manager,
India & SAARC, SanDisk
Send in your Questions to
[email protected]
I’m an amateur photographer from
a small village in West Bengal.
I love shooting nature, flowers,
sunsets and everything beautiful I
see around.
I’m currently using a Nikon
Coolpix L110. I’m looking forward
to buying a DSLR after my
graduation. I wanted to know how
to control ISO and shutter speed.
Could you explain?
- Pritam Singha
Raghabpur (W.B)
Firstly, I admire your enthusiasm
and love for photography. Being the
pioneer of this art in your village
means that you have a unique
opportunity to document its life
and times, and you should explore
the possibilities of doing a photodocumentary. Many viewers would
find such a story very interesting!
Coming to your query on
camera controls – A DSLR has three
controls, Aperture, Shutter speed
and ISO, and these variables work
together to control the exposure
of the image. Each control has a
different function, as under:
1. Aperture (usually marked
‘A’ on cameras), refers to the lens
opening, which determines how
much light is let in by the lens.
Aperture values also affect the
september
2011
‘depth of field’ (that is how much
of the subject is in focus, in front
of and behind, the actual plane of
focus).
a. Larger apertures (i.e. smaller
numbers on the f-stop scale) let in
more light, but result in shallow
depth of field, used often in
portraiture to isolate a subject from
a busy background.
b. Smaller apertures (i.e. larger
numbers on the f-stop scale) let in
less light, but result in greater depth
of field, preferred for landscape
photography, architecture etc.
2. Shutter speed (usually marked
‘T’ on cameras), determines the
exposure time:
a. Slow shutter speeds (i.e. longer
exposure times) result in greater
exposure (needed for example in
night scenes) but may result in blur
caused by camera/subject movement
during the exposure.
b. Fast shutter speeds (i.e.
shorter exposure times) result in less
exposure and are often used to “stop
action”, as in sports photography
etc.
3. ISO refers to the sensitivity of
digital sensor. Higher ISO numbers
signify greater sensitivity, which
means that less exposure is needed
for a given light level. Generally,
higher ISO settings are used in
[16]
low-light settings such as night
scenes etc. The trade-off here is that
higher ISO settings can result in
increased ‘noise’ and give a grainy
image. Hence, for the best image
quality, use the base ISO setting.
The camera’s built-in meter will
help you decide what combination
of Aperture, Shutter speed, and ISO
you should use for the given light
conditions.
While all this may sound
complex in theory, the practice is
much easier. Modern DSLRs have
many convenient metering and
auto-exposure modes – from fullprogrammed auto, much like the
compact camera you are using – to
priority modes, Aperture priority
or Shutter priority, and finally
full manual control. Once you
start working with your camera,
and with the basic information
contained in the camera manual,
you will quickly learn the use of
these controls.
Good Luck!
I am planning to buy a new DSLR
but I’m confused between Canon
EOS 60D, Canon EOS 7D, Nikon
D5100 and Nikon D7000.
Could you suggest me a good
DSLR that is similar to or better
than the cameras I’ve mentioned
Brought to you by
above? If there are cameras that
are going to be soon introduced
with new technologies like 3D,
I’d like to know about them too.
I don’t know much about DSLRs
so your help would be extremely
valuable.
- Jinendra Sonu
The four cameras you have
listed cover a wide gamut of ranges,
from beginner friendly to upper
midrange. Before choosing the
camera, start by defining your
priorities – affordability, compact
size, low weight, and any specific
feature, such as live view, or video
recording for example.
For a first time DSLR user, look
at the Nikon D5100 or the Canon
550D (both are about ` 39,000 with
their respective 18-55 kit lens).
Both these cameras are capable of
producing excellent results, and
have a rich feature-set to satisfy the
budding enthusiast. If your budget
permits, consider replacing the kit
lens with either, a longer range
zoom, (such as the Nikon 18-105,
or the Canon 18-135, respectively)
or a high-performance lens such as
a 17-55 f2.8 fixed aperture zoom,
again available from Nikon, Canon
and others. The digital sensors
in these new generation cameras
are good enough to deserve high
performance optics rather than the
standard kit zooms.
The weakness of entry-level
DSLRs is their penta-mirror based
viewfinders. These are simply not
as bright and large as mid-range
cameras like the Canon 60D and
the Nikon D7000, which provide
a much better viewfinder based on
penta-prism designs. If viewfinder
clarity is important to you, then
consider one of the mid-range
cameras, but you pay a penalty,
not just in cost, but also in size and
weight.
Finally, the most important
criteria of all, the test drive – how
does the camera feel in your hands?
How intuitive are its controls and
menu structure?
september
2011
As far as newer technologies
are concerned, in the world of
electronics – progress is inevitable.
Manufacturers are forever exploring
newer image sensors with improved
lowlight performance, higher
resolution, and greater dynamic
range, faster auto-focus etc. By
year-end, you should see the first
of a slew of crop-sensor midrange
DSLRs that will have pixel
resolution to rival current fullframe professional DSLRs… but if
you find a camera that you like and
fits your current needs, why wait?
What you have so poetically
called the ‘Ray of hope’ is actually
the combination of two factors:
First, lens flare – this is usually most
pronounced when shooting into
the sun, and that too with modest
lenses that are not very resistant
to flare; and second is atmospheric
conditions such as dust or mist etc.
The “deer among the tree” image
(shot with the Kodak C315) has
those flare rays more prominent
because of atmospheric conditions
– the light is dappled by the trees
and highlights the early morning
mist against the dark shadowy
background. It is a very nice image!
In the house shot, you were not
The two photos I’ve sent were taken able to duplicate the result because
with Kodak easyshare C315 and
there was no dappling of the light –
Canon Powershot S5 IS.
only some flare caused by shooting
The Kodak C315 makes light appear straight into the sun. So getting
as a ray, which when I tried to
these shots is not so much about
achieve through Canon S5 IS or any camera settings as it is about subject
other DSLR, could not be
and lighting.
possible. Is there any
It is useful to note that
camera setting to get
modern lenses, with their
the “ray of hope” in
sophisticated multi-coated
sophisticated DSLRs?
of the Month elements for flare resistance,
- Siddarth. P. Raj
naturally do not often create
these artifacts. You could
try inducing the flare effect
by placing an old UV filter on
the lens, or even try some of the
special effects optical filters – but
the results are unpredictable and
variable. Many photographers,
who are interested in creating
these dreamy artistic images,
resort to adapting older,
non-multicoated lenses on their
modern DSLRs.
The
Question
of the Month
will receive
AP
Question
[17]
Where YOU are the story! Use
Olympus cameras and share your
experiences with everyone!
Mail us a brief write up of your story at
[email protected] or send your entries to our office address
Brought to you by
Camera: Olympus µ Tough 8010
:`
ce
Pri
0
,00
21
Specifications
No. of effective pixels
Image processor
Recording file format
image size (max.-min.)
Lens focal length equivalent to 35mm
Aperture range
Zoom [Optical / Digital (total)]
TFT colour LCD monitor
Waterproof
Sensitivity (Standard Output Sensitivity approx. ISO)
Movie recording size (Recording time or size)
min. or up to 4GB
september
2011
14 megapixels
TruePic III
JPEG
[4:3] 4288x3216 - 640x480
[16:9] 4288x2416 - 1920x1080
28-140mm
f3.9(W)-5.9(T)
5x / 5x (25x)
2.7-inch
10m: JISC0920/IEC60529 IPX8
64,100,200,400,800,1600,AUTO,High
Monang Barot, 25
Marketing Manager
720P : continuously up to 29
VGA, QVGA : up to 4GB
[18]
Powered by
Exif Data - F/4.9 ISO 100
A
t first instance the
camera looks stocky,
especially since we have
become used to seeing slim,
sleek and fashionable compact
cameras in recent times. But it
is only once you start dabbling
with the camera that you
find out what it is made up
of. Personally I feel that this
is a camera that should be
on everyone’s buying list for
a variety of reasons. And the
more I played with it, the more I
got fascinated by its features.
I thought that the camera
gave me the liberty to shoot
whatever, wherever and
whenever. Unfortunately, the
down side of staying in an
urban jungle is that I didn’t get
to shoot any adventure sports
around this city. But in whatever
limited scope I used its features,
I was convinced that it was
designed for action.
I was surprised with many
september
2011
[19]
features that it offered as well, especially the
ones that I use regualrly, like magic filters,
panorama view, bright display screen, HD
recording and HDMI connection. Despite of
such features it’s actually quite user friendly,
it just took me 15 mins to get the hang of
the interface and the best part was when
I shot couple of pictures in the rain, the
pictures were actually of DSLR quality. The
image quality was very sharp and crisp, every
droplet was clearly visible.
My Experience
Overall I was very happy and satisfied
with the camera. With the price tag of `
21,000 I feel that it is value for money.
Although in some cases the processing did
seem a little slow, but overall it’s a very
handy camera.
Likes
1. Art Filters
2. Crisp and sharp images under water
3. User Friendly
4. Super Macro and LED illuminator
Dislikes
1. Few buttons feel rubbery
2. The back looks like a first generation
digital compact
september
2011
[20]
september
2011
[9]
Trade Talk
Your Flash memory guide…
With the growing nature of the imaging industry, often we tend to forget an important element like flash
memory in our imaging devices. It is crucial that a consumer has the right memory partner to supports
its products’ memory needs. Hence we spoke to some industry experts and leaders about their plans for
the coming year.
Manisha Sood,
Country Manager & Director,
SanDisk Corporation, India & SAARC Region
Is it true that SanDisk is now
planning to start a manufacturing
facility in India? If yes then in
what phase is the plan in?
SanDisk has a strong manufacturing
footprint around the world. But with robust
growth of flash storage devices we are
continuously evaluating options to set up new
production facilities. Presently, we do not have
a manufacturing facility in India, but we see
lot of growth opportunity in India with the
changing consumer demands. Additionally, the
proposed manufacturing facility will mainly be
an assembly unit for digital storage products.
Are there any specific activities
that you are planning to have for
the festive season?
As a global leader in flash memory,
SanDisk believes that consumers should be
educated about how to use flash memory
products, to enhance user experience of
their host devices. Through its orchestrated
marketing programmers’, SanDisk continuously
attempts to bring the brand closer to its
consumers and channel partners. To enhance
the brand awareness, SanDisk plans to launch
a pan-India Diwali promotion this year as well.
As a part of the contest, consumers will be
entitled to win exciting prizes. The campaign
will be promoted through a multi-media
campaign across print, internet, mobile, radio,
outdoors, retail merchandising and a strong
leg on social media.
In what stage would you say
SanDisk and its operations in
India are currently?
Our India retail operation is headquartered
in Delhi. A team of SanDisk executives manage
the business across the country. We have a
three-tier retail supply chain in India: National
Distributors to City Distributors to Final-tier
Retail. Our ecosystem is also supported by a
September
2011
set of agencies who work closely with us on
marketing and merchandising.
We also have a robust customer service
set up for end consumers. There is a toll free
number for customers to seek resolution
supported by a set of service centres across
the country.
SanDisk’s strategy is to work with key
retailers and distributors to offer the broad
range of SanDisk products. The company
will continue to build its retail presence in
a growing number of key cities and urban
centers and is leveraging the growth of the
consumer electronics products such as digital
cameras, computers and mobile phones.
Further, we have also created “Memory
concept stores” to reinforce our presence
in the India market. These breakthrough
“Memory Concept Stores” are present across
prominent large format retail outlets in India
and represent the entire range of SanDisk’s
portfolio. It brings a fresh new look to create
a uniquely satisfying customer shopping
experience.
How has been the growth of this
market in India? What are the
factors driving this growth?
We are witnessing massive demand for
tablets, and mobile phones from consumers
in India and around the world. Flash is a key
enabler of these mega-markets. This apart
there is a growing camera market in India and
that coupled with growth in computers makes
for a very large and fast growing flash market.
According to Gartner, NAND flash
consumption will exceed 20 exabytes in
2011 and will exceed 110 exabytes in 2014.
That’s a big number we are talking about.
With the large amount of data at hand, the
need of storage devices is increasing with
the masses. There is a rise in consumption
of digital consumer devices and hence flash
memory market is moving upward. It is on
[22]
the upswing.
SanDisk is well-positioned to capitalise
on this growing market. As a company we are
stretched across end-to-end in the value chain
from R&D, to manufacturing, to retailing and
OEM.
Where would you like it to be in
the coming few years?
Flash memory is not new, but it is moving
up to a new tier in the storage echelon. Over
the years flash memory has been offered a
new layer of the storage hierarchy in servers
and client computers that has key advantages
including space, heat, performance and
ruggedness. Additionally, with the rate of
price declines, the technology will enjoy more
than a 100 per cent compound annual growth
rate during the next few years and become
strategic in many IT areas including consumer
devices, entertainment equipment and other
embedded IT systems.
SanDisk has always invested ahead of the
curve with a focus on not only bringing in
best of class products but supporting growth
by reaching out to consumers consistently.
Our strategy is to provide consumers with
the highest quality products
with the best value. We
will continue to offer
products that are
ideal for a variety
of uses including a
range of cards for
digital cameras and
camcorders, USB
flash drives and
cards for mobile
phones. For
2011,
our
endeavour is to extend our portfolio and
diversify our product offerings in India.
Do you feel that as a trend CF
cards are almost out of steam and
will be discontinued in the near
future with most manufacturers
moving towards more compact
designs and faster SD options?
On the contrary, CF cards have the best
speed rates and capacity. In fact, a lot of
high-performance cameras use CF cards. The
demand of CF cards remains due to their
features and durability.
What are the kinds of trends
SanDisk is witnessing in the
global and emerging markets?
Can you share some interesting
consumer consumption trends?
The surge in the sales of tablet since
the launch of iPad, has stalled the growth
of laptop and netbook markets. This also
signifies a major shift in storage means for
general consumer. The growing popularity of
mobile devices and internet population in the
emerging markets is also a huge contributor.
Nidhi Sethi
Sales Director, Flash Business, Kingston India.
With one of your famous
competitors hinting at starting
a manufacturing unit in India
sometime soon, how does that
change things for you?
Honestly it won’t change what we
are doing in India. Kingston has strong
distribution channel networks and global
logistic management so that it always delivers
products to end customers on time. A
manufacturing plant of our competitor in India
won’t change anything for Kingston.
Are there any specific activities
that you are planning to have for
the festive season?
Yes, there will be promotional offers for
our trade partners during the up coming
wedding and festive season. We are also in
discussion for having our cards being offered
to the Digital Camera buyers as part of our
strategic partnership with the camera brands.
Do you feel that as a trend CF
cards are almost out of steam and
will be discontinued in the near
future with most manufacturers
moving towards more compact
designs and faster SD options?
Yes, we have seen the trend in high-end
camera product line. However, not only for
image use, but CF card is widely used in
industrial devices.
Are you satisfied with the progress
that Kingston India has made so
far? Or would you have liked to
change something?
Yes, we are very happy with Kingston
India. The responses from our end
customers as well as our channel partners
are positive. Kingston India will continue
September
2011
to work on promoting the brand in India in
the coming year for increasing the brand
awareness and the brand preference. In
addition, we will also explore new media to
promote the same to reach different and
more segments.
Where would you like it to be in
the coming few years?
A simple one-statement wish list: Kingston
products in each hand of a user who needs
memory for devices or storage without
compromising on quality or after-sales
support.
Does majority of the sales for
memory manufacturers still come
through bundle strategies, both in
the imaging as well as IT industry
since most of the research
suggests the same?
Bundle sale is just one of the strategies.
Kingston is particularly strong in channel
business.
Customers trust Kingston products, and
believe we can bring the best quality and are
most suitable to their devices.
How would you differentiate the
market dynamics in India and
China?
To Kingston, due to the large population,
both China and India markets are big,
with a lot of possibilities. The culture, the
population structure, the religion might be
different these two countries, which may
have impacts on our sales and marketing
strategies. However, the market demands
towards Kingston’s products are the same.
The demands in these two countries are
very strong, which can be reflected from the
sales growth every year.
[23]
What is your understanding of
the opportunity in other countries
surrounding India?
Besides India, Kingston also has sales in
Sri Lanka and Pakistan. The sales of flash card
in Sri Lanka keeps escalating and we expect to
have 150% sales growth in 2011. The business
in Pakistan also has seen growth. Comparing
with 2010, high end SD & CF card’s business in
Pakistan is estimated to grow four times in 2011.
Why has Kingston’s focus
relatively reduced in the
photographic sphere since the
past year? Any specific reason for
the same?
Actually, Kingston still launches new
memory cards every year. In recent years,
we focus on high-end cards specifically, since
there are more and more new uses of memory
cards. Take for instance the Ultimate 233X and
SDXC cards, Kingston presents these two highend memory cards for fulfilling the demands
of images and video uses.
Is this part of a global focus or
specifically in case of India?
India market is listed in our top priority.
Kingston’s sales in India are growing rapidly.
This has happened mainly because of the
brand recognition in the local market, and
we would like to focus and throw more
resources into the market to keep the
momentum going.
Pro-Profile
OF
Black &
September
2011
[24]
White
September
2011
[25]
In keeping with
the Black & White
theme of the
month, Asian
Photography’s
pro-profile is a
man who loves
to shoot his
images without
colour. Having
shifted careers
from being an
advertising
professional
to a full time
photographer,
Akash Das speaks
with us about
his brand of
photography.
Ads to photography
As a creative adman with various
agencies in Delhi, Akash Das began dabbling
in photography around 1990. He may have
been an amateur, but he was always serious
about his photographs, a commitment that
paid off once the awards started rolling in
for the various campaigns stills he shot. The
awards served perhaps as both incentive
and inspiration, to urge him to take up
photography full time in 2005.
Since then he has moved from strength
to strength as he created for himself a
strong position as a leading photographer,
instrumental in changing the look of Indian
September
2011
advertising, particularly fashion advertising.
With more than 100 national and international
awards under his belt, Das now has frequent
exhibitions of his work in European cities.
Staying relevant
Das says his style is to evolve with time.
“Today I am my own influence. I experiment
as much as I can. Earlier my photographs were
shocking, now they’ve mellowed. Currently
I shoot extensively around the themes of
fashion, wildlife, children and cars. I like the
variety; I would get fed up with just one
subject.”
[26]
Akash Das
Of all his achievements Das is especially
nostalgic about his first exhibition in Europe
which was one of his biggest highs. The
tremendous response and understanding he
received there for his art photography is what
has encouraged him to keep pursuing such
work in his personal shoots.
Weapons of choice
Camera: Canon EOS 5D Mark II and Canon
1Ds Mark IV
Lenses: 17mm, 24 mm, 105 mm, 400
mm, 500 mm - depending on the subject of
the shoot.
Memory cards: SanDisk
September
2011
[27]
This is one
image that Das
is especially
proud of. “No
one else can ever
take a picture
exactly like this.
Mostly tigers
hide when they
see humans but
this tiger came
out on to the
forest path and
it was as though
God had turned
on a torch,
illuminating
only what was
necessary. The
tiger seems to
tell a story – if
you take care of
me then we can
walk together a
long way. But if
you don’t then
I can vanish at
any moment in
this huge jungle.
This image is an
inspiration to
me.”
September
2011
[28]
September
2011
[29]
September
2011
[30]
Tips on the trade
A good picture should
have a story. People
should look at it and ask
questions. That’s when an
image has depth.
September
2011
“People decide very easily that they
want to be fashion photographers. But there
is no such thing. Fashion photography is a
lifestyle. If you understand composition,
lighting and optics you could be any kind of
photographer. But first and foremost you need
to take out your camera and just shoot. Think
of a subject and work on it. It is essential to
create a volume of your work. One fluke shot
[31]
appreciated by everyone doesn’t mean you’ve
become a photographer. You will be a good
photographer only when you have produced a
volume of work and each image is better than
the other,” says Das.
His advice for beginners
- Concentrate on composition.
- Learn the techniques of photography but
also include aspects of art.
- Always photograph with your conscious mind.
- Optics is very important. You need to
know what lens will best capture what you
want to.
- Understand tonality to take an image that
will convert into a great monochrome one.
Monochrome musings
When working on personal projects, Das
chooses to retain a lot of his images in black
and white. He feels it adds a layer of mystery
to the image. “Since digital has taken over,
people just photograph in colour and then edit
September
2011
[32]
it. There is no other way because shooting in
the black & white mode doesn’t give you the
whole gamut of tones for a good picture. So
when you are shooting in colour you have to
imagine what your final result will be – where
you are going to burn, dodge, contrast levels
etc. It is difficult to pre-conceive what your
image will look like in black and white. This is
what I really enjoy,” he says.
The new breed
Das is sceptical about today’s young
photographers in India who he says plan
September
2011
their shoots by searching online and finding
the easiest way out. “They don’t even
know what meter reading is or what tonal
readings are. They can only do whatever
Photoshop can give them. If you want
to judge a photographer, take away his
computer from him and ask him to shoot
an image you’ll like. Today unfortunately a
lot of young photographers start by saying,
‘We’ll just do this and manage everything
else in Photoshop’. People like this are
digital retouchers, not photographers,”
maintains Das.
[33]
Call to the wild
Yoga, meditation, music, reading,
mountaineering and adventure trips are what
give Das the energy for his work. And going
by the calendar he already has in place, the
rest of 2011 will be as busy a year as any for
Das, who is slated to showcase his work across
European Galleries in Paris, Hamburg and
Brussels. Post the exhibitions he will travel to
Kenya and Tanzania to shoot African wildlife,
something he loves doing.
Text: Karina Aggarwal
MAHENG 11925/13/1/2009-TC
delivered to your Computer screen
login to www.asianphotographyindia.com
special feature
TRIBUTE TO THE
MASTERS OF
B&W
No B&W special issue can be complete without a tribute to the Masters who changed the
way we look at images. These masters have often inspired photographers, intimidated them
and lastly forced them to improve and achieve the impossible. There is a long list, but some of
the most famous ones are Henri Cartier-Bresson, Irving Penn, Richard Avedon, Eugene Smith
and Ansel Adams.
When you look at the works of these photographers you never come across frames that don’t
work. Every set of contacts lead you to incredible images.
Richard Avedon
R
ichard Avedon was an American
photographer who passed away
in October 2004. An obituary
was published in The New York Times
following Avedon’s death said, “his fashion
and portrait photographs helped define
America’s image of style, beauty and culture
for the last half-century.” These words
simply encapsulate the iconic image that
Avedon had in photography.
For more than 50 years, Richard
Avedon’s portraits had filled the pages
of the America’s finest magazines. His
stark imagery and brilliant insight into
his subjects’ characters has made him
one of the premier American portrait
photographers.
In the early years, Avedon made his
living primarily through work in advertising.
His real passion, however, was the portrait
and its ability to express the essence of its
subject. His artistic style brought a sense of
sophistication and authority to the portraits.
Throughout his career Avedon
maintained a unique style. You will notice
that Avedon’s portraits are often well lit and
in front of white backdrops. When printed,
the images regularly contained the dark
outline of the film in which the image was
framed. Beyond his work in the magazine
industry, Avedon has collaborated on a
number of books of portraits.
He was voted one of the ten greatest
photographers in the world and in 1989
received an honorary doctorate from the
Royal College of Art in London. Today, his
pictures continue to bring us a closer, more
intimate view of the great and the famous.

Portrait: Marilyn Monroe, Actor,
New York, May 6, 1957
september
2011
[36]
Fashion: Dovima with elephants, evening dress by Dior,
Cirque d’Hiver, Paris, August 1955
september
2011
[37]

Irving Penn
H
e is another fabulous American
photographer; also very well know
for his Portraiture and Fashion
photography.
He was one of the 20th century’s most
prolific and influential photographers of
fashion. His signature blend of classical
elegance and cool minimalism was
recognisable to magazine readers and
museum-goers worldwide. He passed away
in 2009 at the age of 92.
Not only was he a famous Vogue
photographer, but also his images are
exhibited in museums and galleries and are
prized by collectors.
Penn photographed still life objects
and found objects in unusual arrangements
with great detail and clarity. While his prints
are always clean and clear, Penn’s subjects
varied widely. Many times his photographs
were way ahead of their time. They only
came to be appreciated as important works
in the modernist canon years after their
creation.
september
2011
[38]
Instead of offering spontaneity, Penn
provided the illusion of something fixed,
his gaze precisely describing the profile of a
Balenciaga coat or of a Moroccan djellaba
in a way that could almost mesmerize the
viewer. Nothing escaped the edges of his
photographs unless he commanded it.
Except for a series of close-up portraits that
cut his subjects’ heads off at the forehead,
and another, stranger suite of overripe
nudes, his subjects were usually shown
whole, apparently enjoying a splendid
isolation from the real world.
Although he was most famous for
photographing fashion models and cultural
figures, he seemed equally at home
photographing Peruvian peasants or bunion
pads.

Portrait: Nichole Kidman,
New York, 2003
september
2011
[39]
Henri Cartier-Bresson
”To take a photograph is to align the head,
the eye and the heart. It’s a way of life.”
Henri Cartier-Bresson was a French
photographer considered to be the father of
modern photojournalism. He was an early
adopter of the 35 mm format, and the master
of candid photography. He helped develop
the street photography or real life reportage
style that has influenced generations of
photographers who followed. We lost
another legendary photographer in 2004.
He had a passion for painting and
especially for surrealism. In 1932, after
spending a year in the Ivory Coast, he
discovered the Leica - his camera of choice
thereafter - and began a life-long passion for
photography.
In 1933 he had his first exhibition at
the Julien Levy Gallery in New York. His first
photojournalist photos to be published came
in 1937 when he covered the coronation
of King George VI, for the French weekly
Regards. He focused on the new monarch’s
adoring subjects lining the London streets,
and took no pictures of the king. His photo
credit read “Cartier”, as he was hesitant to
use his full family name.
september
2011
[40]
Taken prisoner of war in 1940, he
escaped on his third attempt in 1943 and
subsequently joined an underground
organization to assist prisoners and escapees.
He dug up his beloved Leica camera, which
he had buried in farmland near Vosges. In
1945 he photographed the liberation of Paris
with a group of professional journalists and
then filmed the documentary Le Retour (The
Return) about returning French prisoners and
displaced persons.
In spring 1947, Cartier-Bresson, with
Robert Capa, David Seymour, and George
Rodger founded Magnum Photos. Magnum’s
mission was to “feel the pulse” of the times
and it aimed to use photography in the
service of humanity and provided arresting,
widely viewed imges. He explained his
approach to photography in these terms,
‘”For me the camera is a sketch book, an
instrument of intuition and spontaneity, the
master of the instant which, in visual terms,
questions and decides simultaneously. It is
by economy of means that one arrives at
simplicity of expression.”
september
2011
[41]
Ansel Adams
W
hen you talk about Black &
White photography, the first
name that comes to your
mind is Ansel Adams. Ansel
Adams was an American photographer and
environmentalist, best known for his blackand-white photographs of the American
West. He lived from February 20, 1902 to
April 22, 1984.
Adams primarily used large-format
cameras despite their size, weight, setup
time and film cost, because their high
resolution helped ensure sharpness in his
images.
Adams founded the Group f/64 along
with fellow photographers Edward Weston
and Imogen Cunningham, which in turn
created the Museum of Modern Art’s
department of photography. Adams’s
photographs are reproduced on calendars,
posters, and in books, making his
photographs the most widely distributed
even today.
Adams described himself as a
photographer — lecturer — writer. It would
perhaps be more accurate to say that he
was simply — indeed, compulsively — a
september
2011
[42]
communicator. He endlessly travelled
America in pursuit of both the natural
beauty he revered and photographed
and the audience he sought. Adams felt
an intense commitment to promoting
photography as a fine art and played a
key role in the establishment of the first
museum department of photography, at the
Museum of Modern Art in New York.
Great influence came from his
photography. His images became the
symbols, the veritable icons, of wild
America. When people thought about
the national parks of the Sierra Club or
nature of the environment itself, the often
envisioned them in terms of an Ansel Adams
photograph. His black-and-white images
were not “realistic” documents of nature.
Instead, they sought an intensification and
purification of the psychological experience
of natural beauty. He created a sense of the
sublime magnificence of nature that infused
the viewer with the emotional equivalent of
wilderness, often more powerful than the
actual thing.
september
2011
[43]
Eugene Smith
E
ugene Smith was an American
photojournalist known for
his brutally vivid World War II
photographs. He refused to compromise
professional standards.
He started his career by taking
pictures for two local newspapers. He
then moved to New York City and began
work for Newsweek and became known
for his incessant perfectionism and
thorny personality. Smith was fired from
Newsweek for refusing to use medium
format cameras and joined Life Magazine
in 1939. He soon resigned from Life,
too. In 1942 he was wounded while
photographing battle conditions in the
Pacific theater of World War Two.
Later as a correspondent for Ziff-Davis
Publishing and then Life again, Smith
entered World War II against Japan,
photographing U.S. Marines and Japanese
prisoners of war.
september
2011
[44]
Upon leaving Life, Smith joined the
Magnum photo agency in 1955. There he
started his project to document Pittsburgh.
This project was supposed to take him
three weeks, but spanned three years
and tens of thousands of negatives. It was
too large to ever be shown, although a
series of book-length photo essays were
eventually produced.
Smith was perhaps the originator and
arguably the master of the photo-essay.
Today, Smith’s legacy lives on through
the W. Eugene Smith Memorial Fund to
promote “humanistic photography.”
Although there are many
photographers who are masters in their
own right, these were a few on top of
everyone’s list.
september
2011
[45]
MAHENG 11925/13/1/2009-TC
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september
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[47]
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Shoot My City
Devotees taking a morning dip in the Hooghly River,
near a ghat at Rabindra Setu
september
2011
[48]
KOLKATA
- City of Joy
Kolkata is raw, it’s real and it’s in
your face… It is a city you ‘feel’
more than just visit. Even today,
the city takes you back in time
with its people and atmosphere.
I saw beauty amidst all the
chaos and scramble.
W
ith this month’s edition being
a Black and White issue, the
conversation that followed at the
edit meet was centered around selecting a
city that would look good in monochrome.
And what city would look better and surreal
than Kolkata? With its heritage, culture and
architecture the city is well-known for its art,
poetry, music, dance and theatre. They say
first impression is the last impression and
inspite of all the poverty and hygiene related
issues I’d been told about Kolkata, I still
managed to fall in love with the city.
Kolkata for me is a potpourri of the
traditional colonial architecture with a dash
of its gastronomic wonders topped with its
ever-accepting people. It was quite difficult
to cover the Kolkata I had seen during my
previous visits in a matter of three days. After
a long, three hour flight from Mumbai I was
greeted by torrential rains followed by an hour
long hunt for a cab. I was put up at a service
apartment at AC Bose Road and my trip had
officially begun.
september
2011
[49]
A fisherman having his morning grub inside his
anchored fishing boat
september
2011
[50]
A fisherman soughting out
his net checking for any damage
before setting sail
Traffic outside Howrah Station with
the famous yellow Ambassador Taxis
spanning till where the eye can see
september
2011
[51]
A misty early morning en route
Princep Ghat on Strand Road
A candid picture of a little girl
on the ghats of Hooghly
september
2011
[52]
The next day I headed out quite early
considering the sunrise there is earlier
compared to sunrise back home, in Mumbai.
There are many ghats on the banks of Hooghly
River. So, first stop was to go around the ghats
at Strand Road. It was 0430 hrs, quite dark and
difficult to manoeuvre around the slippery
ghats but once I reached the river bank, I saw
one of the most serene sights; an unbelievable
number of devotees taking a holy dip in the
river as a start to their day. Sometimes as a
photographer, it’s difficult to put the camera
down and just consume the beauty of the
moment. After some time, people around me
became aware of my presence, few of them
started to get curious and few went about
doing their business.
Another place of interest is the famous
Howrah Bridge. It took me a while to figure
my vantage point but I did find it as I crossed
over the bridge towards Howrah railway
station and walked down the ghat just below
the bridge. A word of caution: look before you
leap, in this case, before you walk. I guess this
is where I ignored the warning about the filth.
Anyway, the ghat was right outside the chaotic
Howrah railway station and it was a little hard
Late evening rush in a local bus
near Park Street
september
2011
[53]
Travel Tips:
1. Kolkata as a city will not burn a
hole in your pocket. Travel, food and
accommodation is quite cheap as
compared to any other metro.
2. Fish and sweets are two things
Bengali food is famous for. So try
the popular food served in Kolkata.
Also I’d suggest you try the ‘Indian’
Chinese cuisine, It is said to have
been developed by the small Chinese
community that has lived in Kolkata for
over a century.
3. Beware of the authorities whilst
clicking pictures in public places in India.
I was chased by the cops after capturing
a beautiful scene through the pillars of
the Howrah Bridge.
And only later I learned that
photography is prohibited in places of
military importance, railway stations,
airports and bridges.
4. Take a lazy tram ride and soak in the
ambience of the city. It’s worth the
time to take a ride in these relics of the
colonial era.
A devotee taking a adventurous
dip into the Hooghly River from
the passing ferry
A local lighting his cigarette using a jute
rope which remains lit for hours, found in
‘paan-shops’ across Kolkata
to believe how calm and quiet it got as soon as
I stepped onto the river bank. The first thing I
noticed was the steel bridge over the flowing
water of the Hooghly River and soon enough
the sun peeked through the cloudy sky. At that
moment I couldn’t find words or even a song
good enough to express what I saw or how it
made me feel. There was an amalgamation of
activities – people taking a dip in the water,
women selling flowers, children playing and
some filling water in canisters for their use
while others making a few bucks by selling
september
2011
penance.
By the time I decided to move out the
city had stepped into overdrive. Roads and
lanes had become crowded with all forms
of vehicular traffic from buses, private cars,
ambassador taxis, three-wheeler rickshaws,
cycle rickshaws to even hand-pulled rickshaws.
A whole fleet of the classic yellow Ambassador
taxi stuck in a traffic jam as far as I could see is
a scene, not new to the city. On certain roads
you find the vintage trams moving slowly,
portraying a unique city link between the old
[54]
A snapshot of a typical evening in Kolkata
with the working class returning home
A local getting a shave
from a roadside vendor at
Armenian Ghat
colonial era and the modern Kolkata.
Kolkatans are proud people; proud of
their culture, their traditions, their food,
their language and their city. I’m not going
to bore you with the social and economic
demographics of the people but there’s
one thing noteworthy of them; they don’t
hesitate in going out of their way to help you
with directions. They are cheerful people, at
least the ones I met were.
Thanks to the rain Gods, I had to skip
a few things on the agenda like a visit to
the ‘Mother House for the sick and dying’
established by Saint Mother Teresa for
the less fortunate who are on the last legs
of their lives, a morning breakfast of the
Tibetan ‘momo’ or ‘dumpling’, experiencing
the ‘adda’ culture first hand and the Calcutta
Coffee House.
Text and Images: Steve D’Souza
september
2011
[55]
Tips & Techs
B&W
photography
rocks!
T
o me, Rock and Roll has always been
the Fountain of Youth. The beauty
about Rock Photography is that it
captures the star in that historical moment
at that point in time. I shoot mostly in
Monochrome (B/W) to add timelessness and
a dash of profundity to my subjects. If done
right, the image can become a captivating
classic and sometimes even iconic.
I was pleasantly surprised (okay,
shocked) when all three of my b/w images
swept the 2006 Lucie Awards, the Oscars
of photography (Music, Non-Pro category).
No coloured entry managed to gain even
a single prize. B/W is an unlikely choice in
capturing a very colourful, explosive and
exciting subject matter. Perhaps it was
indeed the timeless and profound factors
which got my images the judges’nods.
I believe B/W images, besides being
visually stimulating, also speak to one’s
subconsciousness. So what are the
things that one must look out for in B&W
photography?
september
2011
[56]
The Image
Photography is like Kite-Flying. It’s all about the
high-flying, attractive kites that the audience is
looking for, and its seldom about the kite-flyer.
There’s no Zen master, there’s only the Zen. So
the first rule of photography is to aviod drawing
attention to yourself; let the image speak for
itself.
I crave capturing the rock star during
moments of Zen-state (self-reflecting, being in
the zone) where he or she turns into a mere
mortal for a moment – glances playfully into my
lens, pulling up his socks cheekily, smiles or even
blowing kisses (female artists) into my lens.
I personally feel that photography is like songwriting, its a divine gift. I’m just the recipient, at
the right place and pressing the shutter at the
right time. Formerly shooting in film in the last
millennium, I’m still economic in my shots despite
using a digital camera. Preferring the “One Shot,
One Kill” approach, I don’t shoot in Burst mode,
and then hope for the best. It’s also against the
concert rule to shoot with a distracting flash. So I
limit my ISO setting to 1600 only, a habit from my
film days, when I only shot with Kodak’s Tri-X 400
films. These days, the ISO goes up to 102,4000!
Whenever possible, use the lens hood, especially
for wide-angle lens.
This cuts away stray unwanted stage lights.
september
2011
[57]
Genre
I have no bias in shooting certain genre of music – instead I always
go for the Visual Impact. So far I’ve only shot the bands I respected,
covering blues, classic rock, jazz, classical, reggae, new age,
electronica, pop, alternative, hard rock etc. My focus was never
on who I shoot, it’s how I shoot them. I never sign concert release
papers. Too much hassle, I rather not shoot. I joke with my friends I’m not a puppy that barks at every passing car. So far, I’ve shot my
heroes – Eric Clapton, BB King, Blondie, Lady Gaga, Slash, Prodigy,
Slipknot, Kitaro and many others.
september
2011
[58]
september
2011
[59]
Cameras
Lenses
Backstage
I believe the Camera should be the slave to
the photographer, not the other way around.
There are some of those out there who love
to talk about the romance of the camera but
shrink whenever I ask them to show me some
images. Yes, some cameras are works of art
but they do not produce works of art. It’s
all about the images not the elegant beauty
of how a camera is crafted. I like my camera
(Canon EOS 1D MkIII) as it’s fast, heavy and
solid – to capture that split-second accuracy
that I crave. My lens must all be ‘bright-eyed’,
i.e. f2.8 and below, for effective low-light
shots. That way I can let in shadows that
give my images my trademark rock feel. For
quieter situations eg. in recording studios, I
use the Canon EOS 5D MkII.
As for Lens (Canon ‘L’ lenses), I rely simply on
my ‘Trinity of Lenses’ – 16-35mm, 24-70mm,
70-200mm. BUT the most crucial that sets
everyone apart (men from the boys) is one’s
left eye. The discerning/thinking eye that
composes, crafts and crops instantly at the
jumping, chaotic, prancing rock star in front of
his/her lens. I called this attempt at trying to
capture that decisive-moment shot – “Caging
the Lightning”. Lenses are your paintbrushes
– they interpret what’s in front of you. The
choice of lens determines the brilliance of
your subject. Since I’m usually in front of
the stage, I use mostly my 16-35mm and
24-70mm lenses.
When backstage (if allowed in), one must
respect the artists’ space and privacy, never
disturb them prior to a concert performance
– when they’re “in the zone”. You’ll know
quickly because their managers, minders
or crew forms a protective wall around the
artists. I believe, the less you intend to shoot,
the more you are allowed to shoot.
I always enjoy Soundchecks, usually in
the afternoon, hours before the actual
concert where the band rehearses,
jokes, banters, tests out and calibrates
the venue’s sound and light systems.
That’s when I put away my camera
and enjoy thoroughly their impromptu
performance…only for a very small
audience.
september
2011
[60]
september
2011
[61]
Shadows
If Light plays a vital role in photography,
Shadows add spice to rock photography.
My b/w images always have shadows – my
vital trademark ingredient in them to add
that extra Oomph (or in rock-speak, the
Backbeat).
Black &white should be just that – black &
white. There are many so-called b/w images
out there that are more grey and dark grey –
which may lacklustre to look at.
Our “One Thing”
We all have our God-given “One Thing” in
us. Our so-called Gift to the world. Mine’s
rock photography. What are the fruits
of pursuing the “One Thing” or fulfilling
september
2011
one’s dream? When I decided to take rock
photography in a more serious way, I never
thought that my images will be displayed in
Hard Rock Café, be featured in rock stars’
CD/DVDs, websites, newspapers, magazines,
television, appearing in full-page camera
advertisements etc.
Recording Studio
The ultimate thrill of shooting rock music
– is being allowed into a recording studio
watching/capturing legendary rock bands
record their latest albums. In these recording
sessions, use a quieter camera, I rely on
Canon EOS 5D MkII. Full–frames are useful
to capture all-encompassing shots in
low-light tight spaces.
[62]
The Call
Pass It On
I simply love the moments when I receive
an overseas call or email from rock stars out
of the blue requesting for me to “Hang Out”
(rock-speak for “bring your camera along”). Or
calls from fellow rock photographers. I’ve met
most of the legendary rock photographers
(over in the West) that I respected as a young
photographer. They are always the Masters
and I their grateful apprentice. By respecting
others first, you gain respect (wink). I reckon
it’s like guitarists sharing tricks of the trade
with each other. Watch the rockumentary “It
Might Get Loud” featuring Jimmy Page, the
Edge (U2) and Jack White.
One of the crucial reasons why I started
my rock gallery called ‘Monochrome &
His Coloured Cousins’ is to invite young
photographers to drop by and mentor/inspire
them, besides selling my prints. Sometimes
we even chat about life, calling in life, and
how crowded/competitive the photography
world has become.
To me, besides the creation of art, the
journey of any artist is to Aspire, Perspire and
Inspire. One must always give back to society.
And don’t take photography too seriously,
remember it’s not about you – it’s about your
IMAGES.
Text and Images: Eddie Sung
www.eddie-sung.com
september
2011
[63]
Tips & Techs
September
2011
[64]
b&W
Landscape
Photography
A
s an invention, photography initially
relied on the quantity or the intensity
of light and not on its wavelength
(which determines colour). Perhaps it’s just
providence that black and white photography
was invented before colour photography, but
even today, several years after the invention
of colour photography, somehow we’re still
in love with the idea of making images sans
colour. Maybe it’s the starkness monochrome
images provide for. Maybe the accentuation of
line, shape, texture, and form in images devoid
of colour is the reason behind our fixation.
Maybe it’s just plain nostalgia. Whatever the
reasons, black and white photography still
seems like it’s here to stay.
Visualizing in mono
The priorities of a photographer while
composing an image in black and white are
usually different from composing an image
in colour. In order to get the most out of the
medium, particular attention should be paid
to tonal qualities in a scene while shooting in
black and white. In colour photography, some
of the primary concerns of a photographer
might be defining the several million colours
that the eye can appreciate. In the absence
of colour, one tends to appreciate the graphic
September
2011
[65]
Tips & Techs
qualities of shape, line, form, and texture in a
scene, besides the various tones in an image
and the rendering of highlights and shadows.
Translating brilliant colour images
into black and white doesn’t necessarily
guarantee good monochrome images. Today,
in this age of digital photography, converting
images to monochrome might be easy, but
getting the tones of gray that best represent
the original colours of a scene requires a keen
eye. It is important to visualize beforehand,
the intensity of colours in a scene and even
what tones of gray best represent certain
colours, perhaps even before clicking the
photograph.
An image could be interpreted in many
different ways. With film, the negative had a
number of potential positive images, and it
was up to the photographer or the printer to
assess what treatment would best suit
September
2011
an image.
Depending on the treatment of the
negatives, one could obtain stark, high
contrast images with dense blacks or even
full toned images devoid of the dense blacks,
with details in the highlights and shadows
preserved. Now, with digital photography,
the possibilities have increased manifold,
and a lot more can be achieved, especially
since a lot more image information is usually
available.
Colour Conversion
Adobe’s Photoshop has a few simple
methods for converting an image to black
and white. Desaturation removes colour
from all three channels of the image. This
can also be achieved by using the Saturation
slider in the Image>Adjustment>Hue/
Saturation dialog box. The resulting
[66]
image will remain an RGB but appear as a
monochrome image.
Another simple one-step conversion
method of a three channel image into a
single grayscale channel image is using
Image>Mode>Grayscale. Using this method
collapses all three of the RGB channels into
one single channel. This, however, also results
in a reduction in file size which need not
necessarily be desirable.
A third, and possibly the most suitable
method for converting your images to
black and white is the Channel Mixer. This
allows you to individually adjust each of
the three RGB channels while converting
to monochrome. The newer versions of
Photoshop have an adjustment called Black
& White itself (Image>Adjustment>Black &
White), and this gives you additional control
over the tonal values of the yellows, cyans and
magentas, in addition to red, green and blue.
Optimizing the image
Once relative tonal values corresponding
to the colours in a scene have been
established, the black and white photograph
could be further optimized according to
subjective preferences and this should be an
important part of the workflow.
Histograms serve as suitable indicators
of the distribution of tones in an image and
can be used effectively to decide the way you
want your image to look like. In addition to
indicating the position of the mid tones in an
image, they also serve as an aid to alerting you
about clipped shadows and highlights while
using the channel mixer, and while making
adjustments to the curve.
If you shoot in RAW, all the colour
information is perfectly preserved with no
loss of detail whatsoever, and you could have
September
2011
complete control over both conversion of an
image to black and white, and optimization of
the image to suit your taste.
Shooting landscapes in monochrome
A good landscape photograph almost
always attempts to give the viewer an
impression of the complexity of the place
itself. So understanding the appeal of a
particular place is of supreme importance.
With manmade urban landscapes, attempting
to establish the relationship between people
and their surroundings becomes important,
and this kind of photography is more about
realism as opposed to natural landscapes
where the focus is generally on highlighting
beauty. Whether you’re attempting to capture
natural landscapes or manmade cityscapes
and city views, you’re invariably trying to
communicate to the viewer, the experience
of being there. Visually, this can be done
[67]
either with a representational and a realistic
approach, or then impressionistically, trading
the obvious in favor of the more atmospheric
qualities that the place has to offer.
Too many points of interest in your photo
are sometimes distracting and a little chaotic.
There might be exceptions to this. Irrespective
of whether you’re shooting landscapes
in colour or in monochrome, adequate
importance should be given to form and
shape while composing an image. With colour,
more importance might be given to bringing
out the several colours in a scene better,
but in an image devoid of colour, it’s form
and shape, and even texture that one needs
to concentrate on, besides the rendering
of highlights and shadows in the scene.
Choosing the golden hour to shoot is a good
bet, and this will help you get the most out
of your scene, both in terms of highlights and
shadows, and in terms of well defined shape,
Tips & Techs
form and texture in an image, especially for
idyllic, romantic landscapes.
Using the foreground to lead the viewer’s
eye into the image is an approach strategy
commonly used by landscape photographers.
Including figures like animals, people, objects
like tree stumps etc. as a foreground, or even
in the background is commonplace, and yields
interesting results. Landscape photographs
need not always be wide angle photos. Using a
telephoto with a narrow angle of view helps to
compress the perspective and yields attractive
results too.
There is a lot of pleasure to be derived
simply from enjoying the outdoors and
experiencing natural beauty. Simply walking
around, anticipating views from different
positions and trying out the different
possibilities will help you learn and improve
your skills at this fine art.
Text and Images: George Kurien
September
2011
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Tips & Techs
Black & white
product photography
September
2011
[70]
P
hotography should not just involve framing neat images but
must go beyond framing and lighting. And in Black and White
photography, there is a whole different approach to lighting,
subject selection, backgrounds and so on.
As of now we would like to focus on shooting products in Black
and White. It might sound simple but as we all know that product
photography is not just about creating neat frames but taking into
account the key features of the product, as though, molding the
product with light and angle. There are certain ethics to keep in
mind while shooting for products. The product details should be
highlighted; as the design and textures play an important role in
enhancing the image.
Lighting
One of the most important elements in photography is
lighting. In product photography light plays a far more vital
role. The light needs to be balanced in order to highlight the
key features and design of the product. Especially in print if the
light is not balanced the photo might turn out to be dark or
washed out.
Angle
Accompanied with light is angle. It could be considered as
the angle of subject or camera. In product photography you
would like to get the product crisp and clear. Choosing the right
angle will expose the clean lines and edges of the product. The
advantage of working with a proper angle is that it provides a
better view of the product and glare can be avoided. Especially
when shooting for jewellery or any metal product you need
to keep in mind that metal surfaces reflect. So having a smart
angle would fare you a good result.
September
2011
[71]
Tips & Techs
Background
Once the product is selected, it is important to make it
interesting and add a creative feel to the image or the product.
One of the ways to achieve this is to have a suitable background.
Backgrounds are as critical as the subject. They help in making the
subject stand out to give it a three dimensional look. One of the
most common methods practiced to achieve this is by filling light in
the background. Try this and for sure your well lit subject will stand
out. Avoid too many things in the background; it might make it too
messy. Backgrounds are interesting links to the subject as they help
in portraying and conveying a message.
Surface
Creating a dynamic reflection of the product is simple and lends
an artistic feel to the product. For creating a real dramatic look you
can use an acrylic mirror. This will reflect the subject often creating
stunning images. Especially in B&W and for a few products, this
reflective surface can add more detail to the product. While
shooting on any reflective platforms, for example on acrylic mirror
you will discover reflections of unwanted objects in your image. So
make sure to place black paper or block unwanted objects from the
top, background and the sides. The benefit of shooting a product
on a glass surface is that, it is generally quite simple to support the
subject by itself.
In black and white photography texture also adds to the
September
2011
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character of the subject, hence, apart from reflective surfaces you
can get creative with your choice of surfaces and use things you
see around every day. For instance gravel from a construction site,
wood shavings from a carpenter’s shop, ice from your very own
refrigerator and so on.
Photography is a vast subject to cover. Likewise in product
photography each product needs to be treated and shot in a
unique style. There are a few tips to keep in mind when shooting
for products.
Tips and Tricks
• Shooting in RAW will allow you to have more control of the
image’s appearance.
• Since we are focussing on black and white product photography,
there is little scope in selecting a product that will go well with
the theme. Hence to make things simpler, sometimes, instead
of highlighting the product we made sure to highlight areas that
speak more in black and white. Yes, the rich textures and detail
pattern work out perfect by lending an interesting finish to the
product.
• With the help of light you can develop great contrast. It is
important because it brings out details in shades and bright light.
• ISO sensitivity plays an important role in shooting products.
Even if the product is lit well and you select a high ISO sensitive
number you will lack sharpness and quality in your images. So it’s
always safe to have a tab on what ISO you are shooting on. Lower
the ISO number, better the result.
Text and Images: Ajay Singh
September
2011
[73]
Tips & Techs
Getting the
best out of
your
Portraits
B&W
september
2011
[74]
What are portraits?
A portrait is simply a photograph that
portrays someone. The simplest example
of the same is the one odd minute that
an individual spends in getting a passport
photograph clicked. A portrait is often thought
to be a photograph that is shot inside a studio,
using a multiple light set-up with control over
all aspects of making the picture. A studio or
a formal portrait is just one small aspect of
portraiture. A formal portrait is either used as
a record of how a person looked at a certain
point in his/her life or in current day scenarios,
by a business person or a public figure for PR
activities. However, they provide little insight
into the person being photographed. For that
purpose, other forms of portraiture are more
appropriate.
It could be anything, from a view of
the subject’s face, whether a close-up or a
head-and-shoulders shot, to a view of the
person from a distance. Such a shot includes
september
2011
the subject’s environment and is therefore
often called an environmental portrait.
An environmental portrait is an effective
way of telling more about the subject. The
environment could comprise of the place
where the subject lives, works, or plays. It
gives the viewer more information about the
subject.
Another type of shot, which looks almost
similar to an environmental portrait but
is often misunderstood, is candid portrait.
A candid portrait is not a surreptitious
photograph. It is a photograph in which the
subject appears unaware of, or unaffected by
the camera.
Portraits in Black & White
If the element of colour is eliminated
from a picture, one notices shapes and lines.
Portraits created in black and white show
character at a deeper level than those in
colour. For this reason, B&W portraits or B&W
[75]
images in general are more appealing because
they create powerful statements of character.
For instance think of a portrait of a movie star
from the 1930s shot in B&W. It makes that
image look eternal presenting an underlying
character of its subject.
A portrait is an attempt to reveal the
character of the subject. Like landscapes and
other subject matter, black and white portraits
predominantly involve contrast, as each
gradation of gray holds important information
of the image. High-key portraits usually show
happy people in fun situations. Dark, low-key
and high contrast portraits show characters,
who have led interesting or dramatic lives, or
who may be involved in emotionally charged
situations.
Converting colour to B&W
Creating a digital black and white
photograph is an odd act of artistic passion
since technologically photography has been
Here are a few quick tips to execute a black and white portrait effectively
1. It’s all in the eyes. In a portrait, the eyes are one of the first things that the viewer’s
attention is drawn toward. And that makes the eyes undoubtedly the most important
component in a portrait. Focus on the eyes of the subject, make sure they are pin sharp and
consider half your job done.
2. It is ideal that you shoot from the subjects’ eye level. But sometimes experimenting by
composing your portrait from a much higher or lower level also creates flattering images.
3. The Ideal focal length whilst shooting a portraiture is two times (2x) the sensor size. The
general rule of thumb is to use a lens that is 2x the diagonal of the film being used. For
example, with a 35mm format, a 75 to 85mm lens is a good choice.
4. Shoot in colour RAW. In case of digital black and white photography it is always better
to shoot in colour and work on the conversion to black and white during post-production.
The presence of colour information allows you to use various post-processing techniques
and to fine-tune the results. Post-processing allows you to mix colour channels, shift hues,
de-saturate and apply colour filters for more effective conversion. RAW files retain greater
and finer details in terms of tones, textures and gradients which allow you more ground for
post-processing to get beautifully crafted black and white photographs. For those who do
not have the option of a RAW format, JPEG works fine.
5. Use a low ISO setting. Using a low ISO helps create a smooth and detailed photograph. On
the contrary, high ISO causes digital noise in post-processing when converting to black and
white. This digital noise is not generally visible in colour photographs.
september
2011
[77]
striving to recreate the same scene with
all the vivid colours and details. Either
ways, starting with digital and ending up
with black and white means discarding the
colour information in favour of gradations
of gray.
It’s important to understand that the
colour information itself can be used as
the basis for this transformation to black
and white. There are many paths towards
achieving black and white imagery starting
with a digital exposure.
For very simple black and white images,
converting JPEGs in programmes like
Picasa and other web based engines may
work fine. But if you want a more artistic
approach, you’ll have to get your digital
hands dirty. It’s also possible that the vast
array of possible techniques for converting
a digital exposure to black and white, lead
to confusion.
Text and Images: Steve D’Souza
Tips & Techs
Art of Black and
White Photography
T
Black and White photography is a
very compelling visual form. It offers
the photographer a great amount
of creative freedom to express their
creative intent. From amateurs to
professionals, you will hear most
black and white photographers say
that colour is a distraction. It takes
attention away from the visual building
blocks of a great photo. As cliché as
this sounds, it is true. Black and white
expresses your artistic vision more
than colour does.
september
2011
his reminds me of a quote by Andri Hery, that states,
“To see in colour is a delight for the eyes, but to see
in black and white is a delight for the soul.” During
the infancy of photography, black and white was the only
medium that a photographer could shoot in. But when
Kodachrome invented colour in 1936, the usage of black and
white did not cease to exist, it only flourished. Contemporary
black and white photography at its best is an art form
and many photographers regard it as the purest form of
photography. Another reason is that colour photography is
so abundant that black and white makes a refreshing change.
There are lots of things that one should focus on while
shooting B&W photography and we have highlighted a few in
this article.
[78]
The power of Black & White Photography
Visualising in
Mono
It is very
important for
you to envisage
your subjects in
monochrome.
Eliminate the
colour and try to
bring out the real
meaning behind
the image. Observe
the elements
around you, study
your subject and
capture the image
in monochrome.
This will help you
to portray your
perspective to your
audience.
Lighting
As we all know photography means
painting with light. You cannot create an
image without light. Photography is light
and the quality of the light determines the
quality of the image.
The situation in terms of light is always
different. You must know how to play
around with the highlights and shadows
and create your image. In an interview with
Mattias Klum, he once said, “Any light is
good light to capture an image”.
Even then black and white gives the
photographer freedom to take photos in all
sorts of lighting conditions. You can capture
images when there is a strong light or even
on overcast days. The secret is to make sure
the light suits the subject. Midday light, for
example, can be great for architecture but
poor for portraiture. An overcast day is ideal
for taking portraits, but poor for landscapes.
september
2011
[79]
Image tells a story
Every image depicts a meaning. Photography is a form of art used by photographers
to convey their perspective. This perspective is best delivered in monochrome. Your
image should tell a story. It should evoke a feeling behind the image. It should strongly
communicate the idea behind the image. The idea can be ambiguous, that leaves some
room for further thinking for the audience.
Sometimes, black and white images can also induce feelings of nostalgia.
Patterns, Shapes & Forms
These three are very important
visual elements. Any subject that you
may want to capture has patterns,
shapes or some form. Shape is how the
subject looks in two dimensions.
Your subject is three-dimensional and
photographs are two-dimensions.
Form is how the subject looks in
three dimensions. Photos are two
dimensional, and like painters,
photographers have the challenge of
depicting three-dimensional objects in a
two-dimensional form.
Shoot in RAW
Lastly, always shoot
in the RAW format.
Shooting in RAW will
help you adjust your
exposures and work
around your highlights
and shadows without
hampering your image
file.
—Text & Images:
Mithila Jariwala
september
2011
[80]
camera review
Price: ` 38
,999
(Body and
kit lens
18-55mm
f1:
EF-S III len 3.5-5.6
s)
Canon
EOS 1100D
september
2011
[81]
SPECIFICATIONS
Image sensor Type
CMOS sensor
Size
Approx. 22.0 x 14.7mm
Effective pixels
Approx. 12.20 megapixels
Recording pixels L (Large)
Approx. 12.20 megapixels (4272 x 2848)
RAW
Approx. 12.20 megapixels (4272 x 2848)
Autofocus
TTL secondary image-registration, phase detection
AF points
9 AF points
ISO ISO 100 – 6400 (Manually)
Shutter
Electronically-controlled, focal-plane shutter
1/4000sec. to 1/60sec. (Full Auto mode), X-sync at 1/200sec.
Movie Shooting
MPEG-4 AVC / H.264 Variable (average) bit rate-1280 x 720 (HD)
LCD Monitor
TFT colour, liquid-crystal monitor, 2.7-in. with approx. 230,000 dots
camera review
sample image
T
he Canon EOS 1100D was recently
launched at a price of ` 38,999 and
offers a lot more in terms of style and
features when compared to its older cousin,
the Canon 1000D. It took Canon three years
to launch an upgrade for the 1000D because
the DSLR is doing well in the market even
today. We found many interesting upgrades
from the 1000D some of which include a 12.2
megapixel CMOS sensor sporting a resolution
of 5184x3456 RAW+JPEG and an impressive
HD (1280x720) movie format MOV along with
many more features.
So we broke it down for you to understand
more about the product’s design, features,
and performance.
Look, Body and Feel
The body design is one of the most important
aspects of any product. We found that most of
Canon’s entry level models have more or less
similar body design. The Canon 1100D lived
up to give a feel-good-in-the-hand design. The
camera seems comfortable to grip, though
we felt that the camera body had too much of
plastic to it. The body has a light matt to give
it a soft feel and look. Canon has put a lot of
thought in the design and layout of buttons.
The buttons at the rear are spaced out for
easy access making it easy for pressing and
navigation. Canon 1100D has a smooth plastic
finish that makes for a good grip even though
the body lacks the rubberized material that is
meant for a decent grip. It is light in weight so
it doesn’t seem like too much of a burden to
carry around.
september
2011
[82]
sample image
The front of the camera consists of a
dedicated lens mount. On the left is an AF
guide light and just next to the lens is a
release button that allows releasing the lens
from the camera body. Moving to the top
panel of the camera body, you find a soft
touch dial that allows you to switch over to
different camera modes. Attached to the
dial is a dedicated slide ON/OFF switch. Just
above the dial you find a leveled matt finish
flash button. Next to it is another dial button
that helps in controlling shutter speed and
aperture. The top panel of the camera also
consists of a shutter release button and a
flash unit with a hot shoe.
The LCD behind provides a clear view
of images. Just adjacent to the LCD is a
neat layout of buttons. Some of them are
interesting especially the navigation buttons,
the playback button, the aperture plus delete
button, and many more. At the right corner
you can see two buttons bulging out to zoom
in or zoom out. The side of the camera sports
september
2011
a matt rubberized hatchet that consists of
the camera’s connectivity ports (HDMI, USB
and Remote). Below the camera there is
another hatchet for the battery and SD card.
Features
When compared to its cousin 1000D
the 1100D has pretty much every feature
that is needed for users. A new upgrade
in 12Mp CMOS sensor gives the 1100D an
advantage over most of the camera models
in the same category. With a larger sensor
the sensitivity range spreads from ISO 100
to 6400 that provides flexibility in taking
shots in low light conditions. As far as image
quality is considered the 1100D sports a
Canon’s DIGIC 4 processing chip, which can
provide a 14bit RAW file and movie mode.
With the absence of video in the 1000D,
Canon has now made sure to give its users
more to experiment with. The 1100D offers
its users a high definition (720p) movie
recording. At three frames per second the
[83]
continuous mode fares well just like many
other cameras. We found these as some
of the major overhauls when compared
to its cousin (1000D) in terms of exposure
metering and auto focus having a 9-point
area focus. Canon’s iFCL 63-zone metering
system has also been implemented into the
Canon 1100D. This system is sensitive to
colour as well as subject brightness, which
improves the automatic exposures in a
wider range of conditions. A 2.7 inch LCD
screen with 2,30,000 dots makes using live
view and reviewing images more pleasant.
Information settings can also be accessed
at any time by pressing the button marked
with a ‘Q’. For a user that likes to have an
automatic scene setting the 1100D provides
him/her with a spread of automatic scene
programmes such as Portrait, Landscape,
Sports, Macro, and many more. This
should be very useful for those without the
confidence to move completely off auto.
ISO 100
ISO 200
ISO 400
ISO 800
ISO 1600
ISO 3200
ISO 6400
september
2011
[84]
sample image
sample image
Performance
One of the features that really performed
well on the 1100D was its 9-point AF system,
which we found to be accurate and quick.
But with live view, it lacked a bit in quick
focussing and there is a noticeable lag in
shutter. With the latest iFCL colour metering
system the 1100D works well in a wide range
of conditions. Centre weighted and partial
metering are also included but with the
absence of spot metering. The 12 megapixels
recorded by 1100D provide ample detail
for enthusiast photographers and at 300ppi
Pros
RAW+JPEG
AF through the viewfinder is great.
Good ISO performance
Cons
Camera’s build quality.
AF on live view
prints measure to 14x9.5 inches. The ISO
detail produced on the images was good,
even images taken at 3200 were usable.
The JPEG images straight from the camera
match up to the RAW files with only a slight
difference.
Conclusion
The Canon EOS 1100D is more of an
improvement over the 1000D. The 1100D
is aimed at budding photographers looking
to be introduced to the DSLR world of
photography. With the camera priced at `
38,990 we felt that it was a tad expensive to
be an entry-level camera given the features
it comes with. A package that comes under
the same level as the EOS 1100D is certainly
more capable of producing excellent results.
If you have a similar budget and you
wish to invest in a Canon then we suggest
that you also take a look at Canon EOS 550D
which comes in a similar price range and is
equipped with better features.
Text and Images: Ajay Singh
september
2011
[85]
camera review
Olympus EP-3
Pric
e
(Bo
14 dy a : `
IIR -42m nd kit 39,
len m f3 len 99
s)
9
.5- s
5.6
W
ith the joint introduction of the
Micro Four-Thirds technology a
few years back, Olympus has come
a long way in making some very interesting
DSLRs in recent times. And with the launch of
its recent line-up of products, the company
seems confident of its future in India. So
when we got our hands on the EP-3, we were
naturally excited.
What’s new?
At first glance the design and the look of
the EP-3 is similar to its predecessor and much
of the retro look and design has been retained
which the PEN series is famous for. There are a
host of new features that have been packed in
september
2011
the EP-3, so lets take a look at them one
by one.
The biggest and the most welcoming
change on the EP-3 is the built-in flash, which
was missing from the earlier installments. The
camera now comes equipped with a pop-up
flash that provides help shooting in low-light
conditions. The rubberrised grip on the right
can now be unscrewed and detached as per
the preferences of the user.
But it is the camera features under the
hood that has our heads turning. The EP-3
might be the first camera that features a dual
core processor. Although at the time of review
we are still trying to verify and confirm the
same. But we were particularly excited to see
[86]
what sort of a difference would this make to
the camera’s performance. Essentially this
helps the camera in processing the images
faster, helps in improving performance in
low-light conditions among host of other
features.
Another new feature that’s new in the
EP-3 is its touch screen feature. Although
limited in nature the touch works fairly
smoothly making browsing and zooming in
more convenient than relying on the circular
dial.
The other small things include a direct
movie-recording button, an autofocus
illuminator light, additional filters and bigger
LCD screen.
Biggest changes as compared to the
earlier models
1. Built in flash
2. Rubberrised grip can be removed
3. Truepic 6 processor (Dual Core processor)
4. Features a touch screen
5. Direct movie record button which is
common in most DSLRs now
6. Additional filters
7. Autofocus illuminator light
Look, Body and Feel
Performance
As mentioned earlier the retro style of the
camera has been retained, which is a big hit
amongst the consumers. While in looks, the
major difference is in the top panel which now
sports the built-in flash. The back features
a 3-inch OLED touch screen and the videorecording button while all the other buttons
seem similar to its predecessors.
The body features a fibre composite plastic
like any other camera, which is light yet stocky.
But there’s something about the EP-3 that
makes it seem more appealing than any of the
other PEN series cameras. Whether it is the
neatly laid out buttons, the crisp design or the
retro style, somehow everything seems to fall
in place with the camera.
The image quality and performance of
the camera is pretty good. Under regular
conditions the camera shoots better than
most in its category and has a decent
low-light performance as well. The addition
of the autofocus illuminator light also adds
advantage to knowing the camera’s focus
area. All these new additions make the
overall performance of the camera good.
A slight area of concern though is the
processing time for the images. When
shooting in RAW the images processed
with a slight delay, which seemed to
continue even in the RAW + JPEG and
only JPEG mode. But comparatively
the processing seemed faster in the
sample image
september
2011
[87]
camera review
september
2011
ISO 200
ISO 320
ISO 400
ISO 500
ISO 800
ISO 1250
ISO 2000
ISO 3200
[88]
ISO 6400
ISO 12800
sample image
Multiple Exposure or Bulb Mode. But overall
the processing speed of the camera was
disappointing.
ISO Performance
To be very honest the ISO Performance of
the EP-3 was confusing, because the results
on the camera’s LCD differed from the one on
the Desktop. We took a series of images to
evaluate the camera’s performance at various
ISO settings. We found that even at ISO 2000
the images were usable. It was only after ISO
2000 we could really make out the descent in
image quality.
But somehow on the screen even in
images clicked at ISO 200, the darker areas
showed visible noise. This left us extremely
confused, but on an overall basis the cameras
ISO performance was decent.
Filters and Multiple Exposure
One of the best things that I like about
any Olympus camera is its Art Filters. Not that
these are absent from the other brands, but
they just seem to have that extra element of
fun in Olympus. It’s the same with the EP-3 as
well, which features almost all the Art Filters
including a few extra ones.
But what caught my eye was the Multiple
Exposure feature in the camera. This feature
was present in the EP-2 as well or has been
in every Olympus DSLR since the E-30. But
somehow it has not managed to get any
limelight. What I personally liked about the
camera is that it not only offers the option for
an amateur photographer to shoot double
exposure in a pre-defined format, it also
has something for a seasoned professional.
september
2011
[89]
camera review
sample image
sample image
Someone who likes more control over his or
her images can shoot multiple exposures using
the Bulb Mode in the camera.
Conclusion
The Olympus EP-3 is a very handy and
light camera and more importantly is a
consistent performer. At ` 39,999 (body and
14-42 mm kit lens) we felt that the camera
has everything that an entry-level user would
want, and a little more with its touch screen
features. Although I would have additional
freedom with the touch screen, like changing
aperture and shutter speeds as well, but you
can’t expect everything now. Can you?
And with the company launching a more
formidable lens line-up every year we feel
that there are very few things that are going
against the camera.
september
2011
[90]
sample image
sample image
Pros
•
•
•
•
Touch Screen
Built-in Flash
Autofocus illuminator
Light-weight and handy
Cons
•
•
Slow processing time
Misleading LCD noise
Text: Bhavya Desai
Images: Ajay Singh, Bhavya Desai and Steve
D’souza
september
2011
[91]

Picture by: Proshanto Mahato
Camera - CANON EOS 500D
F-Number - F/2.4
Shutter - 1/3000sec
ISO - 200
Focal length - 50 mm
september
2011
[92]
Û
Picture by: Sankhya Chattopadhyay
Camera - NIKON D3100
F-Number - F/7.1
Shutter - 1/60sec
ISO - 400
Focal length - 55 mm
Ü
Picture by: Joy Acharyya
Camera - NIKON D90
F-Number - F/1.8
Shutter - 1/200sec
ISO - 160
Focal length: 50 mm
september
2011
[93]
Û
Picture by: Hem Bhandari
Camera - CANON EOS 500D
F-Number - F/5.6
Shutter - 1/2000sec
ISO - 1600
Focal Length: 110 mm
Ü
september
2011
Picture by: - Saumya Majumder
Camera - NIKON D90
F-Number - f/8
Shutter - 1/80sec.
ISO - 1000
Focal Length: 18 mm
[94]
The
Winner
Of the Monthly
PhotoScape
Section will
receive a gift from
Uniross
Û
Picture by: Aman Nigam.
F-Number - F/6
Shutter - 1/500sec
ISO - 900
Focal length: 165 mm
Ü
Picture by: Ravisankar
F-Number - F/5.6
Shutter - 1/25sec
ISO - 100
Focal Length: 105 mm
september
2011
[95]
Dear Editor,
My name is Soumyo Jyoti Roy and I am an avid reader of Asian Photography. I am from Kolkata but currently I am
pursuing my 2nd year in Animation from Delhi.
I would like to contribute my few images to “Asian Photography” magazine.
Thank you
Soumyo Jyoti Roy
september
2011
[96]
The Featured
portfolio in the
PHOTOMONTAGE
ea
section will receiv
ss
ro
ni
gift from U
september
2011
[97]
PHOTO BAZAAR
For Classified Advertisement in
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ASIAN PHOTOGRAPHY AND IMAGING
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september
2011
[9]

special - Asian Photography India

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